小野川直樹

*English follows Japanese

– 折り鶴との歩み –

幼少の頃、特に小学生の頃に折り紙に熱中していました。夏休みの自由工作では折り紙で作った恐竜のジオラマを作っていたほどです。高校を卒業し、美術系の学校へ通いだした頃から自身の軸になるものを作品へ落とし込みたいと思うようになります。自分の中を掘り起こしたところ、そこには折り紙があり、その中から折り鶴を選びました。その時は直感で選んでいました。なにか可能性を感じたからです。それは今も変わっていません。

在学中に3.11を東京で経験し、その夏に初めて折り鶴を使った作品を制作します。そしてその半年後、卒業制作で「鶴の樹」を制作しました。3.11に関して、東京で体験した揺れと、報道で知ったその時の現状。”ものづくり”において、なにか形にしたいと思い、自分のアイデンティティのひとつとして捉えた折り鶴で作品を制作し始めます。1年後の4月に岩手県陸前高田へと赴き、現地の方の話や実際に町を見て回り、自然の驚異の前では人間は何もできないのだと恐ろしくもあり、また、広大さを感じました。それは人種も性別も社会的地位も関係なく襲ってきます。いつの時代も自然の脅威と向き合い、しかし時にあやかり、共存しているのだと改めて思うと同時に、人間の持つ精神面の力強さも見聞き体験しました。

折り鶴は平和の象徴と良く耳にします。陸前高田で瓦礫の近くや建物の入口に吊るされた千羽鶴をみて、行き場のない気持ちを折り鶴に託しているように見えました。戦後、折り鶴は広島や長崎に送られていますが、毎年何トンという膨大な量の折り鶴が届くのだそうです。彷徨っている気持ちの吐き場所であり、その繰り返されている惰性の様なものに違和感を感じます。折り鶴は今、平和の象徴ではなく祈りの象徴といった方がしっくりくるのではないでしょうか。なにかを願う時の乗り物として折り鶴に願いを託すからです。それは平和に限ったことではなく、鎮魂の意と共に、事物を再確認させるといった力も備えているのでしょう。答えや正解では無く、ひとりひとりがどう考えるか、どの様に受け入れるか。いつの日か出会った折り鶴はそんな事を教えてくれる、また、そのきっかけとなっているのでしょう。

見えないものを見ようとする心や事物に思いや魂を込めるということ、それらをあやかり支えとすること、不思議で曖昧な感覚を折り鶴に落とし込み、作品を制作する。これが折り鶴に見る可能性のひとつです。

遠い昔からの想いをのせ、時を越え現代の手によって創り上げられる作品が、観るものとの対話を通し、心を揺さぶる「なにか」が生まれることを信じています。言葉では説明しきれない感覚を、作品を通して表現できれば、また、通い合うことができれば幸いです。

My Journey with Origami Cranes

In my youth, particularly in elementary school, I was obsessed with origami, the Japanese art of paper-folding; I liked them to the extent that I made dinosaur dioramas out of origami during the arts-and-crafts time I had during summer vacation. Upon graduating from high school and going to art school, I awoke to the desire to embody what defines me into the form of art. After self-reflection, I realized that origami is a core element of who I am; and among the variants of origami, I selected origami cranes as my central mode of expression. The choice was one I made intuitively – I felt some potential within the cranes at some level. That sentiment is one that remains with me to this day.

The Great East Japan Earthquake took place when I was enrolled in school, and it was in that summer of 2011 that I first made a work of art utilizing origami cranes. A half-year later, I created the “Tsuru no Ki” (Crane Tree) as my graduation piece: a culmination of my school efforts. What I knew of the earthquake were derived from the tremors I felt in Tokyo and the information I had gained from media coverage at the time. In crafting something, one moves in hopes of manifesting an idea into reality; and seeing as origami cranes function as a piece of my identity, it was with them that I began the process of creation. The following year, in April, I made my way to the city of Rikuzentakata in Iwate Prefecture in Northeastern Japan, which had suffered much during the earthquake. There, I talked with the locals and had the chance to go around and see the town for myself. What I felt there was awe, and terror, at our inability as human beings to resist against the overwhelming powers of nature; calamities encroach upon us all, regardless of our race, gender, or societal standing. No matter the era, the forces of nature serve as a threat to us. But at times, they serve as a catalyst as well – I was reminded once again that we live in co-existence with one another, and I felt and saw for myself the strength of the human spirit.

One often hears origami cranes described as a symbol of peace. In looking at the debris and wreckage found within Rikuzentakata, I saw a mass of origami cranes placed around the entrance of a building. Their creators appeared to have manifested their feelings – notions that lacked a mode of expression – into the cranes themselves. Following the second World War, origami cranes were sent to the atomic bomb sites in Hiroshima and Nagasaki; every year following the disaster, massive amounts – several tons – of the cranes were delivered to each city. They function as a way for us to channel emotions that feel uncertain, ones that we have no idea what to do with – into a vessel. And as a matter of habit, we repeat the process of doing something to distract ourselves from such feelings; but I feel an incongruity with that fact. Could it be that origami cranes function not as a symbol of peace, but of prayer? I say so because the cranes serve as vessels: ones laden with wishes and desires. They do not function solely for peace; they sooth the spirit, and help one get a sense of our surroundings and our own situations. There is no absolute answer or truth. It is all about how the individual thinks about the situation and how they will come to terms with it. The origami crane you might find on any given day can teach you that: or it may serve as the catalyst for you to discover those truths for yourself.

We are able to channel our thoughts, our spirit, along with sentiments and situations where we attempt to perceive the imperceptible, into them; we come to rely on such things for support. I encapsulate these peculiar, obscure conceptions into the origami crane when I go about my work. This is one of the possibilities that I see within the origami crane.

When hands from this generation craft pieces laden with notions from the distant past, transcending time, they give way to a discourse between the viewer and the subject of observation. And it is through this process that notions – whatever they may be – come to life and move the heart. It is my hope that I am able to embody notions – ones inexpressible – through my works, and that the viewer is able to resonate with them.

経歴

【Solo Exhibitions】
2016.11/1-27 「これまでとこれから」 そごう西武渋谷店 B館8階美術画廊 オルタナティブスペース
2017.6/7-8/1 「彩」 日本橋高島屋 2階 アートアベニュー

【Public works】
2017 「The Art of J」 JAL 海外向けキャンペーン webムービー 「Privacy」
2017 「Infini Love」 周生生 Chow Sang Sang Juelly webムービー
2017 「CHRISTIE'S Magazine」 Yusuke Maezawa : The record-breaking art collector
2018 「Journey to the World of HOKUSAI」 - The Art of J - NewYork, Grand Central Terminal
2018 「MIMARU 水天宮前」 アパートメントホテル MIMARU 水天宮前 エントランスにて常設展示「暁」
2018「Princess Cruise」『The Secret Silk』日本初演記念 「Ao」2018